The cast of “Much Ado About Nothing” stands together for final bow. Photo by Heather Regan Photography.
A well-known chef once said, “It was God who created oysters and apples. And you can’t improve recipes like that. But it is our job to try.” In the case of William Shakespeare’s “Much Ado About Nothing,” a beloved romantic comedy, the City of Fairfax Theatre Company, under the direction of Olivia Hinebaugh, has made a commendable effort to put a fresh spin on this classic.
…a fresh spin…entertaining production.
Setting the play in the 1970s, complete with bell-bottoms, tie-dye, bandanas, fringe vests, and retro glasses, offers a fresh twist on this classic romantic comedy. At the Messina Music Festival of 1975, Claudio, a keyboardist, falls for Hero. Don Pedro, the Rock ‘n’ Roll star, not only facilitates their union but also seeks to match his tour manager, Benedick, with the venue manager, Beatrice. Meanwhile, Don Pedro’s envious brother, who plays bass, harbors his own devious plans that upend lives— and honor. By the end of the show, however, everything is set right, just as it should be.
The lead actors exhibit a strong grasp of Shakespearean language. Notable performances include Victoria Jungck as Beatrice, Michael Santos Sandoval as Benedick, Gerardo Mijares-Shafai as Don Pedro, Katie Warner as Don John, Paul McLane as Francis, and especially Kevin Dykstra as Leonato. Emily Gjovik as Borachio and Alayna Theunissen as the cool yet annoyed Conrade form a interesting pair, particularly during the trial scene. Mia Shaker delivers a comedic portrayal of Dogberry, though the frequent jumping and shouting sometimes overshadow the dialogue. Noelani Stevenson as Claudio occasionally appears to rush through lines.
The live musical numbers (Jim Eckloff, David Fritts, and Phoenix Henkle) enhance the production, transporting the audience to the intended festival vibe with an open-air setting, tents, and string lights. The 1970s-themed music includes Carole King’s “Will You Still Love Me Tomorrow” and “I Feel the Earth Move,” Elton John and Kiki Dee’s “Don’t Go Breaking My Heart,” and Patti LaBelle’s “Lady Marmalade. While the show was enjoyable, there were some audio issues, with a few microphones cutting out completely.
Costume designer Angela Lee and hair and makeup designer Mary France Dini excelled in capturing the 1970s essence. Given the sparse stage setting—musical equipment, two clothing racks and a festival banner—their work was crucial in conveying the era’s style.
While this was a pleasant evening in the community, filled with ’70s hits, impressive costumes, and Shakespearean verse, the adaptation’s connection to the setting felt tenuous. The integration of the music festival theme with Shakespearean elements left some aspects of the plot unclear. For instance, Is it a burial ground or a memorial at a backstage music festival? Does the wedding occur backstage as well? (maybe a courthouse or Vegas would be better?) and how does the role of Seacole fit within a festival setting in conducting a trial regarding romantic entanglements? Addressing these few loose ends would help improve the already entertaining production.
Running Time: Two hours and 15 minutes, including one 15-minute intermission.
Advisory: Contains drug content, sexual content, and profanity.
“Much Ado About Nothing” ran from September 5-15, 2024 at Veterans Amphitheater, 10485-10489 Armstrong St, Fairfax, VA 22030. For more information about the City of Fairfax Theatre Company and their upcoming productions, go online.
